<HTML>Please, say what you really think! Professional "tuners" must live in the realm of unadjustable (in performance) pitch, therefore endlessly finding the correct or best set (or theory) of compromises to achieve a desired temperament which most closely approximates the standards of "intonation" from a given historic period. Performers on adjustable pitch instruments must make these adjustments on the fly in performance, and develop the ear and technique to constantly improve intonation. Performers in established, professional ensembles (quartets, orchestras,etc.) develop a unified philosophy on pitch or else they are asked to leave. Therefore, a pattern can develop which is actually recognizable. An ensemble which does not develop a consistent philosophy on pitch takes more energy to listen to, and will eventually become considered to be less polished than competitors. The conductor of a large ensemble usually imparts his/her philosophy on the adjustment of pitch. In a quartet, it is usually by committee (Makes for good arguments!). What possible differences can there be on "philosophy"? A group may believe in different approaches on the width of "just" thirds. Many violinists especially play wide thirds, and believe that "tempered", or "piano" thirds are very narrow compared to proper thirds. Other ideas hold that all intonation should be broken down note by note slowly, then players need to try to duplicate their findings in tempo. This is usually held by wind players. Other (believe it or not) carry their Auto-tuners with them at all times, even PERFORMANCES, and insist that all others need to adjust to them without regard to "Just intonation", purity, only that all notes register on the needle. This, if at all practical, would result in an entire orchestra playing only in ET! I do not exagerate, a member of the oboe section of the NY PHILHARMONIC does this! Ocassionally, informed members of a section (most often the French Horns) will actually try to adjust pitsh towards just when given an opportunity to be on their own. A sensitive musician will recognize this immediately and marvel at the sections' co-operative spirit. This can happen in quartets. as well I recently heard a performance by the Tokyo Quartet. They started out with Schubert a minor. The width of the minor thirds shocked me they were so pure(wide). Most classical musicians believe that minor thirds must be very narrow to emphasize their dark side, taking them to be even more narrow than ET. Interestingly, when the quartet moved on to Brahms, wide Major thirds and narrower minor thirds, like ET, gave the music greater intensity!  This was definately quite intentional. One can not make generalizations about musicians in orchestras and their approach to intonation anymore than performers can make generalizations about professional tuners from their limited experience or point of view. Intonation is frequently the last subject musicians wish to discuss, because it can break friendships faster than any other subject amongst musicians. Only in situations where a consensus is reached that egos will not be bruised or threatened by its' discussion can true progress be made towards an ensemble playing beautifully in tune. Even then, it must be understood that there is no such thing as perfect intonation, that we must always be listening to improve the intonation, and that one must never assume that he or she is the only "in tune" player(That every one else is wrong). Music performance is a flexible, dynamic experience, and the many factors that contribute to good intonation are difficult and require hard work on every performer's part. It is this element, more than any other, that seperates the static result of a keyboard tuning from the live experience of performance by flexible pitch instruments.</HTML>